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Remarkable to wait for a discount offer, only to feel cheated cos a cheaper one comes out nearer the time... tsk!
Toggle Commented Jun 9, 2011 on ENO prices hit rock Bottom at Intermezzo
@sub opera - 'overheard' someone asking them that on Twitter; they replied mid-May...
Well, quite: most of my journey to work yesterday morning consisted of me shouting at my car radio... I am curious to know who these people are who he quotes as coming out of the theatre, saying "That was the best evening I've ever, ever had at an opera."
Toggle Commented Feb 8, 2011 on ENO's Lucrezia Borgia? Me too at Intermezzo
Found this... Online priority booking dates Barbican Red Members: 10am Mon 24 Jan Barbican Orange Members: 10am Thu 27 Jan Barbican Yellow Members and General Public: 10am Mon 31 Jan Phone and in person bookings open 10am Sat 26 Feb http://www.barbican.org.uk/classical1112/ticket-prices-and-multibuys
Or perhaps this...? http://www.youtube.com/watch?v=2lXh2n0aPyw
Toggle Commented Jan 18, 2011 on supersize my piano at Intermezzo
Well, I wonder what's changed since his MusicalCriticism interview, as recently as October? "But, as he tells me as we meet soon after the concert, he's equally excited about being back at the Royal Opera House, where he was a Young Artist for six months, for a revival of Gounod's Romeo and Juliet in the secondary role of Tybalt. The mere suggestion that it might be an anti-climax to sing such a relatively small part after being the centre of attention at the O2 is instantly dismissed. 'That's ignorant, man, you mustn't ever say that,' he replies, passionately. 'This is the Royal Opera House, and playing a small role is just as important as playing a big one. The story still needs to get told, and you have a job to do for the principal roles. What I found doing Les Mis was that the whole company, whether a member of the ensemble or a lead role, is a team. It's a team effort. There's no principals. Everybody is important in the production. That goes for a lot of the people I work with. They all respect each other, we all have a job to do, and we're a team. There's no hierarchy. Working here is a great honour – working with fine singers like Piotr [Beczala, the Romeo] and Nino [Machaidze, who plays Juliet]. It's great to support them and be here.'" And, on leaving the Young Artists? "To be honest, I had got to a position in my career where I'd had enough education and I wanted to get out and start doing it." So, either he's a little inconsistent or, perhaps - just perhaps - the Daily Mail isn't entirely reliable. But then, he should have thought about that before he ran with the devil...
Have just come in from the cold, so my fingers can't type! "Inbelievable", indeed!
Toggle Commented Dec 20, 2010 on snow claims its first operatic victim at Intermezzo
He was, indeed a star, inbelievable singing that completely floored us. And vocally, Daniel Grice was indeed impressive. The Royal Opera House came out of it rather less so. It's not like it happened overnight, and a note provided beforehand and some more realism about whether Act 3 was going to be a goer would have helped contain irritation at a world-class performance being derailed for want of a properly rehearsed understudy. I would have been considerably happier to see Grice perform; singing from the wings while someone parks themselves in approximately the right place, looking approximately in the right direction, whilst feigning approximately the right degree of sad/pensive/angry/whatever is absolutely not acceptable except in extremis. I don't see what was particularly in extremis about this... I thought that part of the point of the YA scheme - at least a fringe benefit -was that they could be tutored up as understudies? Anyway, all is more-or-less well that ends well, but I hope Gerhaher (and the others?) are of strong disposition - there is clearly no back-up plan. Be interested for others' views in case I'm being unreasonable...
Toggle Commented Dec 20, 2010 on snow claims its first operatic victim at Intermezzo
Well, it's down to the votes for 7th or none after tonight! And she was good - none too forthright, but as dramatically convincing as the piece allows, and vocally nuanced. Our experience was similar to Manou's, I think. Audience went mad for JK... (And more filming... for patching? Or is there going to be an intriguing 'choose which Princesse you want' on the DVD extras?!)
LOL - can't believe you've got 270+ votes on that in just over 2hrs! M
Just logged on as an O2 customer with (supposed) perks for the O2 venue. There may be other price ranges available in general booking, but the prices are ridiculous. The cheapest are £45-65 (Level 4), then they rise to £65/£110 Level 1, and £90/£100 (floor seating). Booking fees on top of that range from £6.25 to £11.75 PER TICKET. We went for £45 seats and were allocated direct line of sight in a neighbouring borough. Then there's £2.50 to have them posted. Seriously. Sod off, methinks!
Toggle Commented Nov 17, 2010 on Domingo & Gheorghiu 4 O2 at Intermezzo
Quick work, based on the timings of the tweets that prompted it! if the 395 into £10m calculation, are the ROH not part of some theatre academy arrangement - linked ot the Production Park in Thurrock, which might mean a number of them are apprentices, paid at considerably less and topped up with specific Govt funds for training/employment? That and fixed-term consultancy might explain some of the numbers. All very interesting. Not sure I join the general chorus of disapproval around the top salaries. The place is running better than it has for years. That's got to be worth something... [LOL to "Village Hall Flower Arranging Committee". Every year I give my £80, and I now realise that what I've been missing all this time is something ravishing with Delphiniums.]
Toggle Commented Oct 31, 2010 on The Royal Opera House accounts at Gertsamtkunstwerk
1 reply
Also, to note: the blurb says side stalls and dress circle discounts are only available 22 Oct, but if you choose those seats for 29th and bung in the code, you get the offer price.
Toggle Commented Oct 21, 2010 on Radamisto - the final offer at Intermezzo
Just had a flick through the booking screens for the various parts of the house. There are a remarkable number of unsold seats. If this offer doesn't do the trick, then at least when I go on Saturday we'll all be able to spread out...
This is a very sorry mess indeed, and must be very unpleasant for you to have received. And for what? I'm at a loss to understand what this insufferable prig is trying to 'protect'. I can't quite believe the extent to which it has severely eroded the goodwill that I had for the Royal Opera House. My fuller thoughts: http://wp.me/pAV2H-75 Hope there is a satisfactory resolution. Ideally it would involve some grovelling, a season in the Royal Box, and a large bunch of flowers from Lord Hall.
Absolutely agree with your comments on the Proms booking system and unpredictable seat placings. Glad you lucked out - we were side on and a few rows back on the opposite side for Meistersinger (at £40, thank you very much). A few seats further to the end and I would have had further kindling for my burning Albert Hall rage which, coming after the queuing/toilet provision/programme queue debacle made me glad that - however good the music-making - I'm only going to that appalling barn of a venue once this year. And the thought of going for central seats, but ending up practically in a neighbouring borough to the performers, is not palatable. Good review and commentary, as ever... :-)
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